SECTION 5:
PA AND SOUND REINFORCEMENT APPLICATIONS
WITH THE MACKIE 8YBUS CONSOLE
One of Mackie DesignsO primary product phi-
losophies is to make its mixers as multi-purpose
as possible to make them more affordable. This
sounds like a contradiction in terms, but it isnOt.
By creating consoles JUST for recording and
other models JUST for PA, other companies com-
FOLLOW THIS SENSITIV-
plicate the manufacturing process and reduceITY ADJUSTMENT PROCE-
their economies of scale.DURE FOR EACH CHANNEL
We designed the 8YBus Series from theIN USE:
ground up for both recording and PA sound rein-
1. nn Assign signal to channel fader:
forcement applications. If you have any doubt asY If channel will be used with a micro-
to the durability of your new console, just thinkphone, MIC/LINE switch should be up &
of how many smaller Mackie mixers have loggedFLIP switch should be up.
literally millions of air miles on grueling toursY If channel will be used with line input,
MIC/LINE switch should be down &
(and how many vintage Tapco mixers that GregFLIP switch should be up.PA
&
Mackie designed are still around and in day-to-2. Set channel strip controls as follows:
day use).nn TRIM pot all the way counterclockwiseSR
From a features standpoint, Mackie 8YBus Se-(+4dB)
ries consoles are easy to configure for publicnn AUX SEND controls all the way counter-
clockwise (off)
address and sound reinforcement applications,
whether you are mixing the house, stage monitorsnn EQ switch up
nn LOW-CUT switch either on or off
or both at once. Use the L/R main mix buses and(on recommended for mic inputs)
your main L/R outputs as your main signal path.
nn Channel fader at UNITY
If you want a headphone cue mix, eithernn PAN pot hard left or right
patch the Control Room outputs to a suitablenn SOLO switch down
headphone amplifier, or select MONITOR as the3. nn Make appropriate Onoise� into the channel
source for Phones 1 or Phones 2. This will allowinput. For example, have a performer play/
you to listen to any source you can select for thesing/strike something or someone, etc. at
the level theyOre going to record or perform.
Control Room. You can also use the solo buses asDonOt just play a single sustained note,
headphone cue. If you prefer, you can modify thebut rather, jam away as you would be during
recording or performance.
solo circuits for PFL (Pre-Fade Listen).
4. The channelOs �20dB LED should light. The L/R
SETUPmain meters will show the actual internal
operating level of soloed signals. Now you will
Refer to the STEREO LIVE MIX drawings on
optimize levels.
page 42 and 43.5. nn Adjust the TRIM control clockwise to get
You should normally use the L/R Mix buses aspeaks that regularly hit 0dB on the L/R
your Main or House feed. Patch out from the L/Rmeters.
outputs (peferbly the balanced XLR outputs)6. If desired (optional):
into the input to your amp stack (usually yournn Press the EQ switch in.
nn Adjust the channel stripOs EQ to about what
House graphic equalizer).you will be using during the session.
Any of the AUX buses can be used to feed a
nn Re-perform Step 5.
stage monitor mix, but AUX Send 1 and 2 are7. nn Return the channel stripOs SOLO button to
balanced, so they would be the best choice for
its up position, and set the PAN pot back
several different stage monitor mixes. Set thewhere you found it.
AUX Sends in each channel to PRE and patch the8. nn Repeat Steps 1-7 on the next channel that is
AUX Send outputs to the appropriate amplifiers.being used.
If you need to provide a simultaneous mix for
a stereo recording, use the MIX-B buses as
described in MAKING A SIMULTANEOUS
RECORDING.Text continued on Page 44
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ACEC
MACKIE
